It is also a clear reference to what was an attempted sovietification of Cuba, as Russian advisors were at the height of their influence inside the Island. Additionally, was the year that preceded the historical Mariel boatlift, another political crisis between Cuba and U. S, which again, gives a significant weight to the context of this movie. When these two films are examined together it is unavoidable to compare the historical circumstances that seem to replicate over time, and inform their cinematography. The relevance of montage as a useful cinematic tool in revolutionary Cuban cinema is undeniable.
Drawing on the ideas of Eisenstein and Brecht among others Wood Such is the case of the scene in which Sergio is in a bus seated next to a miliciano, when he is coming back from the airport after the departure of his parents and wife. A deep statement is created through the use of these symbolic images. Moreover, the construction of this scene mimics the conflict of a historical moment, and the tension between two places, Miami-U. Montage combinations, not only in the case of the series of images which may be arranged in an unusual relation as an incentive to discover new meaning, but also when the relations are established between sound and image constitute a specifically cinematic modality of the estrangement effect In the same way, Bruno Bosteels clarifies about Memorias….
Even more symptomatically and as a result of the techniques of montage, between sound and image too the relation tends to be one of violent disjunction. The constant use of voice-over, for instance, purportedly relevant as meta-commentary … , in fact never manages to produce, or never wants to produce, a correspondence between sound and sight, between the visible and the sayable …. This is why Sergei M. In this sense, Paul A. It is precisly the coexistence and antagonism of these two feelings,-alienation and solidarity-, in characters like Sergio and Diego what makes their insilio experiences so complex and contradictory.
However, his identification and social place in the new Cuban society is constantly challenged. On the other side, Diego values and identifies with important elements of Cuban culture, he tried to integrate into the revolutionary process by participating in the Literacy Campaign of , yet his homosexuality and criticism, excludes him from being fully accepted into society. As exemplify in the confrontational scene between him and Miguel, and the expulsion from his workplace towards the end of the film.
From Critical Montage to insilio , Sergio and Diego two faces of the coin. It is relevant to this analysis how certain elements of montage has changed from one film to the other, as well as the similarities in the uses of montage. In the initial sequence of Fresa y Chocolate we have a set of images in tension, without any verbal interjections voice-over or commentaries from the protagonists or flashbacks, it is a mainly visual and linear composition.
- Mechanisms of Desire.
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- El libro perdido de los origenistas. - AbeBooks - Antonio José Ponte: .
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- The Story of Joan of Arc (Dover Childrens Classics).
- Critical Montage in Tomas Gutiérrez Alea’s Cinema of Insilio.
As opposed to the arrangements of certain scenes in Memorias, where we have the insertion of verbal discourse within the visual components. As Michael Chanan points out. The multiplicity of means would make the idiom of the film not only more open but also richer in its signifier This is the part where Sergio goes to the balcony of his apartment and starts looking through his telescope. Who would have thought this could happen, without the imperial eagle. However, today everything looks so different. Have I changed or has the city changed? Subsequently, Paul A. In relation to this, the use of the voice-over provides us with a valuable example.
This is an interesting use of the politics of discourse because it establishes a sense of duplicity, one in which there is a constant dissonance between thoughts and spoken discourse. This form of discursive dissonance will also serve as another counterpoint in relation to Fresa y Chocolate. It is important to be clear with regards to that particular phrase, so many times intentionally misquoted and wrongly used in the post Cuban political context.
There is a non-conformism stated there, as well as a criticism towards the new economic conditions under communist ideology. The scene where we meet Diego provides us with plenty information about his political perceptions and sexual orientation. Diego is openly homosexual, an intellectual and photographer curiously we never see him in the film with a camera that works in a cultural institution. In this scene, Diego sits at the same table where David is seated, the cinematography is presenting the scene using the shot-reverse-shot,-with the exception of the moment when we get a shot of German seated at another table listening to the conversation-, in order to give us the two antagonistic views.
As a consequence, many of them were sent to the UMAP [xii] as a form of punishment, which is briefly mentioned in this movie at a later moment. Some of the books and writers that Diego mentions were forbidden in official settings, libraries, as well as university environments. This detail serves as a meta-commentary about the cultural censorship, and the intellectual silencing of Cuban writers in exile.
The walls are covered with paintings, pictures of Marilyn Monroe, Alicia Alonso, Bola de Nieve, Lezama Lima, and other cultural memorabilia objects, the image of Our Lady of Charity of El Cobre Virgen de la Caridad del Cobre mother and patroness of Cuba, provides us with the fact that Diego is also a religious person. The other, is the part where Diego intentionally spills the coffee onto David.
It is also a cinematographic presentation of Diego in a position of inferiority in relation to a character like David, due to his sexual orientation, religious beliefs, and political views. The detail that he is intermittently leaving the frame, and the space occupied by David, is a cinematographic observation upon the exclusion of individuals like Diego within a social context in which only heterosexual, communist and atheist subjects are allowed. After this we have a moment in which Diego puts on some opera music, with the pretext of avoid being heard another element of subversive camouflage.
In a subsequent shot, we see Diego looking for a book that he says is a Marxist treaty about male sexuality, and reads aloud a piece of the book. This element suggests an intellectual, and visual conflict with the readings of a Marxist treaty about sexuality. Furthermore; it is relevant to this analysis the way in which David and Diego are shown within the social context.www.hiphopenation.com/mu-plugins/montana/dating-site-420-friendly.php
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On the one hand, David is presented in several moments in his dorm at the university, as well as with his classmates. The fact that he is presented in public spaces, sharing with other people, suggests that he has social mobility and he is not excluded from the social scenario. As a result of the letters that Diego wrote, he is expelled from his job, an episode that reinforces the idea about the lack of freedom of speech.
Likewise, Nancy and German also suffered public exclusion, they are both considered social outcasts. German is a homosexual like Diego, and an artist that sees his artistic potentialities silenced by the estate cultural apparatus. Additionally, Nancy is a rehabilitated prostitute that makes her life selling things in the black market.
In the same manner, Sergio from Memorias del Subdesarrollo stands in an ambivalent position regarding the recent Cuban revolution. There is a sort of parallel in terms of ideological inclusion and acceptance, between Sergio and Diego. Under the new political circumstances of Cuba, Sergio has become a subject partially identified with the ideology of the nation. The apparatus, in the case of the world and society where Sergio grew up, is collapsing, which contributes towards the idea that sometimes is not clear to which interpellations Sergio is responding.
As Paul A. Schroeder reminds us about Memorias….
Sergio does not die, and his survival leaves open two possible outcomes: either he will continue down the road of ambiguity, which will exacerbate his alienation and precipitate his eventual death, or he will confront the cause of his alienation by using his ability to think critically, his only redeeming quality, in order to transform himself through what was then theorized as a desgarramiento Latin American Cinema This stage of disaffection and alienation, ultimately, leads him to the path of insilio, a road full of burdens and constant contradictions.
They are fragmented subjects when only part of them and their lives can be part of the ideology of the state. In the same way, Fresa y Chocolate ends with the imminent departure of Diego, another subject excluded for being considered a counter-revolutionary. Whereas Sergio stays alone, after being successful as a womanizer, a fact that holds little or no hope for him.
For someone who is strongly identified with his nation, the feeling of ostracism on political and sexual grounds is a heavy blow. But add to that the discrimination and rejection that homosexuality brings with it, and the two —ostracism plus discrimination— add up to the internal exile Schroeder, The Dialectics of a Filmmaker It becomes relevant to point out that this internal exile problematizes the subjectivities that are trapped within the national boundaries, and subsequently complicates the space-identity relationship in a multidimensional way.
Henceforth, it is a subject that claims for more consideration within Cuban cultural productions. Furthermore, there is a dialectical function in the subject of insilio, since it can be an advocate for a constructive critique. Other cinematographic productions from Latin America dealt with the topic of censorship, self-censorship, exile, repression, and isolation. The Argentinean case is one of the most prolific ones.
Tiempo de revancha , directed by Adolfo Aristarain during the dictatorship, is a clear allegory to the Argentinean military dictatorship. Aristarain had to navigate the waters of censorship in order to produce the film. Though, not exactly like the Cuban case, one can establish similar connections among the insilio experiences of Cuba and other Latin American countries such as Argentina.
N of Culture. My evils are metaphysical, which become physical. Translations are mine unless otherwise noted. In this film, he experiments with a comic, yet still analytical approach, about a former Cuban bourgeois family that chose not to integrate into the revolutionary process.
This film could also serve as another axis for the analysis of insilio within his filmography. This article adds value to the conversation about the importance of montage in Cuban cinema, as a recurrent technique employed by several of its most acclaimed filmmakers. This is a very common phenomenon in Havana, due to the lack of proper dwelling and overpopulation.
Bloomington: Indiana University Press, Wayne State UP, He was also a committed anti-imperialist figure, henceforth the visual counterpoint to the statue of the imperial Eagle. It became a symbol associated with American imperialism. For a detailed analysis about sculptural landmarks and the history of sculpture in the twentieth century in Cuba see Jose Veigas , La escultura en Cuba: siglo XX Santiago de Cuba. Fundacion Caguayo. Examination of the notion and uses of Caribbean mediascapes; in other words, the uses of media technologies derived from film, television, the internet and YouTube, and the ways they are used and read in the Spanish Caribbean.
Examines how Indigenous writers, intellectuals, and cultural producers have creatively established their own voices through writing and other forms of media. Examines the United States Latino literary and cultural production from multidisciplinary perspectives, such as literature, film, music, and performance. Analysis of the literatures and experiences of United States Latino writers and artists in their historical and cultural specificities.
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Each week we will try to engage the ideas of four to five theorists considered as canonical to each respective school and discuss their relevance in Ibero American cultural and literary studies. The guiding objective of this survey seminar is the genealogical understanding of the situation of literary, cultural, and critical theory in Ibero America today. Each student will be required to make six to eight short informal presentations of specific articles listed in our syllabus to help lead class discussion. Towards the end of the course each student is expect to be able to apply a theory or set of theories on the list to his or her own area of research.
For the last few meetings, students will research and present on some new or unattended theory or theorist unaccounted for in the course. In consultation with the instructor, each will choose a book-length work to report on and make a reading selection to be distributed through Blackboard to the other seminar participants.
Students will be expected to turn this presentation in to a book review for submission to E3W or another graduate or professional academic publication. Vincent B. Second edition. Theodor Adorno, with M. Michel Foucault, "What is an Author? Among the issues to be considered are:.
English translations of most works will be available, but students are expected to work with these texts with full reading knowledge of English and either Spanish or Portuguese. Due to the complexity of the texts to be read, full knowledge of English and Spanish is required for this course, which will be conducted in English. Nevertheless, students from the English and the Comparative Literature Departments are encouraged to consult translations when these are available.
Concurrent enrollment required in L A Students must consult with Study Abroad Program Coordinator as tra vel and orientation dates may be in addition to these dates. Taught in Spanish. Latin American Studies and S may not both be counted unless the topics vary. Survey of works mostly in the Latin American and Hispanic literary tradition in which images or themes related to the East Asia, Eastern Africa, the Middle East are developed. Main literary trends and principal writers in Spanish America from the sixteenth century through Modernism.
Special attention will be paid the Cuban Revolution, Spanish editorial practices under Franco and after, publishing industry developments in Mexico City, Buenos Aires, and Havana and the rise of Latin American studies in U.
After Spring Break, the course will shift to current debates about more recent trends in post-Boom Latin American writing by younger authors. Students will also read excerpts from theoretical works about narrative genres, the literary field, symbolic economy, minority literature and literary canon formation by such as Mikhail Bakhtin, Pierre Bourdieu, Jean Baudrillard, Gills Deleuze and John Guillory.
One min. What is the relationship between the Caribbean as a field of study and the creation of archives? How do archives contribute to canonize or monumentalize a Caribbean writer or a historical figure? What forms of archiving--preservation of government records, manuscripts, letters, and unpublished materials; the search for and publication of "secondary" forms of writing--emerge in relationship to the study and the definition of the Caribbean as a region?
How has the relationship between culture and archiving developed in colonial and postcolonial regions such as the Caribbean? How are race, slavery and post-slave society, class, and gender implicated in these issues? Is the Caribbean "archive" national, transnational, or diasporic? How have archival politics determined the relationship between literature and historiography in the Caribbean? These are either literary writers, historians, or intellectual figures that have been involved in, have inspired or questioned the production, consolidation, or theorization of important Caribbean or Caribbean-related libraries, archives, or collections.
In the case of some writers, these archives in question may be the background for the production of works of historical fiction that we will discuss in class. The take-home exercise will consist ofone page essay questions related to the theories, texts, and methods discussed in class. Examination of the most representative Latin American authors as a course of study in the art of storytelling, literary history, individual poetics, and narrative theories. Going both back and forward in Caribbean print culture, in this course I will consider similar polemics concerning the cosmopolitan vs.
In doing so, I will also address current issues in Caribbean archival politics and fashioning such as journal valoration, acquisition, and preservation as academic capital. Each student will be required to make three short informal presentations of specific articles in our syllabus to help lead class discussion. These works can be chosen from a suggested list or the choice can be discussed with the professor.
The guiding objective of this survey seminar is the genealogical understanding of the situation of literary theory today. Required for CL One of the most important trends in Caribbean and Latin American writing following the "boom" of magical realism was the revival of Baroque aesthetics. Ever since the term was put back into circulation, the range of its meanings and applications in Latin American fiction and criticism has expanded vertiginously.
We will be concerned with tracing a "genealogy" of the concept, studying how the idea of the Baroque came to be associated with aspects of past and present day Caribbean and Latin American culture and literature. Rather than one particular style or school, we will study the Baroque revival as a complex convergence of concepts, an amalgamation of many distinct cultural theories.
Critical Montage in Tomas Gutiérrez Alea’s Cinema of Insilio
To achieve these goals, the reading of the course is divided into three sets. The first consists mostly of essays and critical articles that debate the definition and the appearance of baroque art and writing during both the 17th century and the modern and postmodern period.
To understand the arguments regarding the "dynamic continuity" or the ruptures and differences between the baroque art of the past and the "neo-baroque" literature of the present, we will consult a selection of Peninsular and Latin American writings of the Golden Age.
The third set of readings consists of contemporary "neo-Baroque" fictions to be discussed in the light of the theories presented in the essays of the first set. We will also consider how modern and post modern Spanish and Latin American film and art reflect these concerns.
Both in their fiction and their critical essays, these writers have revived and revised the European notion of the Baroque as a tool to analyze Cuban and Caribbean cultural history. The "neo-Baroque," however, is far from being a Cuban monopoly. An analogous revival of the concept can be seen in the literary and critical works of Mexican writers Octavio Paz, Carlos Fuentes, Fernando del Paso, Salvador Elizondo. Ana Lydia Vega, and Mayra Santos. This course will consider the "neo-Baroque" as a pan-American phenomenon, even though it will focus on the Caribbean, Mexican, and Central American regions.
Barroco by Paul Leduc, Yo, la peor de todas de M. Requirements and Grading:. Restricted enrollment; contact the department for permission to register for this course. Required of first-semester graduates in Comparative Literature. Comparative Literature , the "proseminar," meets weekly for one hour and offers an introduction to Comparative Literature and to the Comparative Literature faculty at UT.
Each week a member of the faculty presents an aspect of his or her research and teaching that intersects with the discipline of Comparative Literature. Past topics have included the writing of literary history, new historicism, Comparative Literature and intellectual history, the literary salon, Comparative Literature and the social sciences, Comparative Literature and opera, and gender and Comparative Literature.
This course is a requirement for all first-year Comparative Literature graduate students. This seminar will attempt to examine the historical and intertextual relationship between the aesthetics of European high and post-modernism and contemporary postcolonial fiction through the analysis of postcolonial novels arguably written in a "Joycean" mode. I will also reflect on the transcultural appeal Joyce has in other post-colonial contexts and regions.
Survey of the social and cultural evolution of the Spanish American countries. While the course uses a selection of works that are recognized by critics, specialists, and readers as the most outstanding, it will also include other less-known authors that are equally notable in order to reflect the diversity of Spanish American literature. Most works will be read in their entirety; however, an occasional work may be abridged.
The course will include the four genres and will require both textual and thematic analyses of the works so as to prepare students for more advanced courses. It is a bridge course between lower and upper-division Spanish designed to:. This learner-based course will lead you through a guided inductive approach that presents you with selected samples to analyze in order to.
Porto, Ph. To grab at a composite is to overlook the particulate. And yet, in order to deal with systems, histories, identities In our case, as we embark upon the study of a so-called Spanish American Civilization, we are certainly at risk of over-extension, as the contours and constituents of this space are—in spatial, temporal, and qualitative terms—quite vast. Even this most cursory depiction of the vastness of Spanish America already presents the complexity of our subject.
Why then, or how, can we speak of a Spanish American Civilization? Though these categories may not look all that different from the periods and processes that occurred to the north, the particular ways that they were experienced in Spanish America certainly did differ. Also, the region differs markedly from the rest of the Americas by way of its predominantly Hispanic and Portuguese cultural heritage, its predominantly Catholic religious culture, and a judicial system based in Roman Law. The lectures and discussions will be conducted entirely in Spanish. Very rarely, a particular topic or text may warrant a brief switching into English, but only rarely.
On the other hand, you will note that a few readings are in English—these were either originally written in English, in a third language i. Students are responsible for completing the assigned readings before each class. Important: If you have any questions or concerns regarding these qualifications, or if any other concerns arise during the semester, please see me in my office immediately to discuss them.
Remember that summer classes cover a lot of material in a brief amount of time, so the sooner we discuss your concerns, the better. General Inquiries: Salgado Associate Professor — Ph. The final section will be a short essay ca. Significant issues in Iberian or Latin American societies and cultures. Cintio Vitier, winner of the Juan Rulfo prize, was a leading poet and essayist identified with the Cuban Revolution and Liberation Theology.
How is the persistence of origenismo as an intellectual paradigm in and outside Cuban today a symptom of complex geopolitical, ideological, and institutional negotiations going on from the s onward? Packet of selected readings. Please check back for updates.
Related El libro perdido de los origenistas (Spanish Edition)
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